Wednesday, November 23, 2011

Introduction to “Orientalism”


Siddharth G. Desai
Roll no. - 07
SEM - III
Paper no.E-E-305
Year – 2011
Topic: Introduction to “Orientalism”












Submitted to Dr. Dilip Barad
Department of English,
Bhavnagar University.




“Orientalism”, written by Edward Said in which he has depicted the European Imperialism power on the countries of the East, where as “Occident” means the countries of the West. Before discussing “Orientalism”, let’s see what are the Post-Colonial studies?

Post-Colonial studies:-

The critical analysis of the history, culture, literature, and modes of discourse that is specific to the former colonies of England, Spain, France and other European imperial powers. The studies have focused especially on the Third World countries in Africa, Asia, the Caribbean islands, and South America. Some scholars, however, extend the scope of such analyses also to the discourse and cultural productions of countries such a Australia, Canada, and New Zeeland, which achieved an independence much earlier than the Third World countries. Post-Colonial studies sometimes also encompass aspects of British literature in the eighteenth and nineteenth centuries, viewed through a perspective that reveals the ways in which the social and economic life represented in that literature was tacitly underwritten by colonial exploitation.

An important text in establishing the theory and practice in this field of study was “Orientalism (1978) by the Palestinian-American scholar from of Michel Foucault’s historicist critique of discourages to analyze what he called “cultural imperialism”. This mode of disseminating in subjugated colonies a Eurocentric discourage that assumed the normality and pre-eminence of every representations of the “Oriental” as an orientalist is now sometimes applied to cultural imperialism by means of the control of discourage, not only in the orient, but anywhere in the world.
                       
  [From M.H. Abrams- A Handbook of Literary Terms]

In the introduction of “Orientalism”, Edward Said writes that this concept of Orient was almost a European invention. The European Imperialism power has given the idea of the Oreent. They have seen the Oriental countries with completely different perspectives. Even today, they have the same perspectives that they had earlier. They, even today, see any Oriental country as a developing country. They believe that they are ahead in the world and we are underdeveloped people.

How do we look at East? How do we look at West? How do the European countries look at East? How do they look at West? All these four questions can be discussed in a broader sense. We always look at our country as we are lacking those powers and reputation that the Western countries have. We always crave for that and perhaps, it can be a possible reason for the thing that we are more and more impressed by the Western world and the impression is shrinking our perspective towards our country has started shrinking in our mind. But when we look at the Western countries, we are always surprised by their development and reputation in the world. We never get tired in praising them. This is where we have failed to understand them. Our mind has been molded in a way that we always think then the Western world as a developed country. If we talk about their perspective towards our country, they always consider the eastern part as a backward part of the world. They consider themselves superior in the world. They always think that we need their help for our development, so they feel proud in that thing. Here, we can find also that the Eastern part is in influence of the Western world. In a way, we are creating hollow personality of our Eastern world. By being impressed or mesmerized by the Western world, we are making our reputation or level lesser one in the world. The European Imperialism dominates behind all these things. They constructed our mind in a way that ewe cannot break that mentality to think beyond that structure, that mentality then even, we cannot do that.

Edward Said writes,

“…a way of coming to terms with the Orient that is based on
the Orient’s special place in European Western experience.
The Orient is not only adjacent to Europe; it is also the place
of Europe’s greatest and richest and oldest colonies, the source
of its civilization and language, its cultural contestant, and
one of its deepest and most recurring images of the Other.”


Here, by writing “greatest, richest and oldest colonies,” Edward Said has made sarcastic remark on the Western-European Imperial power. By writing also “the Other” in a way that it presents that we are not one of them. We are different from them. The first questions that the readers feel, who are they that they are giving identity as “the Other” to us?  But here, the most important thing is the POWER, which is responsible for this. The European-Western world has the power through which they are ruling over the Eastern World, even today. We have started living like them and we are running to catch the identity that the European-Western world has.
Said further writes,


“The Orient is an integral part of European “Material civilization and
culture. Orientalism expresses and represents the part culturally and
even ideologically as a mode of discourse with supporting institution, vocabulary, scholarship, imagery, doctrines, even colonial bureaucracies
and colonial styles.”


Here, Said has made satire by writing the word, “Material”. By following the European World, we have created the habit of using this we are molded to follow them. And we are representing their culture by following them. The Western world sees the Eastern world as the uncivilized people. So they teach us civilization by telling their cultural ideas to us. Unconsciously, we accept their ideologies, even if we do not want to follow but the tag “civilized” makes us helpless, and we start following blindly. They can easily control our mind and we become slaves of their ideologies. By teaching civilization, they are dropping the seed of the slavery, so that we can never challenge their given ideologies.


The Western part wants to bring a cultural change in our won ideologies. You can not bring cultural change until you rule and the European did this thing. They ruled on us and tried to bring cultural change and then also tried to put their ideologies in our mind y calling us “uncivilized” and by forcing us to follow them.


In India, the Britishers were able to rule because people of India need to be like them. We, somewhere, show them that they can rule but this attitude changed our entire identity. And they succeeded in molding our identity the way they wanted. The Britisher shown what they wanted but we were spellbound by their identity and reputation that we could not recognize their hidden intentions. By establishing “The East-India Company”, they got the half victory and the remaining half was achieved by them by expanding their British business in India.


We have perspective like, the Western things are better than Indian things. This kind of belief has decreased our level. We are more fascinated by the Western world day by day. We never give priority to our own country. The constructed programmed, in the past are responsible for this as we saw earlier.


In these slavery kinds of thing, we can utter thus men make their own history. The colonizers had their history by ruling on us and we had made our history by suffering from slavery. This is how your deeps reflect your journey and they make your history not really a person.


“Orientalism” can be discussed and analyzed as the corporate institution for dealing with the Orient- dealing with it by making statements about it, authorizing views of it. It can be possible to state about the Orient, by stating, we can give. The Orient is as the imaginative vision which means of description of a thing by a particular angle or perspective. The Orient is seen by the Western EYE with a particular perspective. As we earlier discussed, power is a ruler, not any country. The West has POWER so they see the east the way they want.


Somewhere, the Western Imperialism power made us helpless and we followed them blindly. Whatever they wanted, they did by colonizing us. They put shackles in our legs. They bounded our minds that boundaries. Said has discussed the “Orientalism” from the viewpoint of the European-Western Imperialism power.


Conclusion:-


To conclude my point, I would like say, “Orientalism was written to show European-American power to the Orient and the mystification of “the Orient” as we saw earlier, the Western’s view towards the East which is discussed by Said in this book. He shows the European-Western Imperial power along wit the confused feelings of the Oriental countries towards the Western power.

“Satan and Saraswati: The Double Face of English in India” by E. Annamalai


Siddharth G. Desai
Roll no. - 07
SEM - III
Paper no.E-C-304
Year – 2011
Topic:Satan and Saraswati: The Double Face of English in India” by E. Annamalai












Submitted to Mr. Devarshi Mehta
Department of English,
Bhavnagar University.









Abstract
English language has affected to people in a very deep way, especially in India. Being a global and link language, English language has become an important tool for education, business, journalism etc. But it plays double roles in country like “India”. By playing the double roles, it has created clash among people and this clash creates the chaotic situation for English language.


     The researcher will show the policy and practice of English language and its contradictory two roles which people are facing in India.












After Independence, English is declined as our official language. Now, in our India, we have two official languages: Hindi and English and one language that the regional language as our official language. There were many controversies for English language in its initial stage; English plays a conflicting double role in India.

It has become a question that English language is Satan or Saraswati for us because its usage makes it a link language as a tool of communication with world. In our India, when it was declared English language as our official language, at that time, we had made some policies for this English language. But we got the different result for this. The policies those were made for English language’s usage are not put into practice while using the English language. The policies have become just like an Old Photo-Frame in the house. English language has created a major conflict for its usage in India.

When we accepted the English language as an official language, the bilingualism pattern has emerged in the field of executive, legislative, legal, and educational. The information is written in three languages: Hindi, English and the regional language of the state for any official document.

English language is just a medium, not our goal, but gradually, it has become our need. Because, nowadays, the higher-education is only in one language available that is English language. So, somewhere it compels us to learn to satiate our need. And while dealing with the English language in education, the first and the fundamental problem, that we face, is the cultural conflict. Our belief system is completely different from the English Culture. Every language represents its culture and belief system. We can not translate our myths or belief system or our cultural ideology into English Language.
This Socio-Cultural dimension creates the Satanic Image of English Language towards us while learning it. For example, we can not write in English, “Hanuman is a servant of Lord Rama.” Here, we can find the conflict while translating our ideas into English. It completely changes the meaning of the information that we want to convey. There is a lot of difference between the words like, “Bhakta” and “Servant”. When we write “Servant” for translating the word “Bhakta”, at that time, it kills the real meaning of the word “Bhakta”. By this example, we can understand that it is impossible to translate our cultural belief into English language. While dealing with the English language, we undergo from this kind of example in writing our ideas into English language.

Being a link and also a global language, English has attained the status of the dominant language in the world. English is only language through which we can communicate with other countries of the world. Moreover, English is prestigious and it is also in great demand, because its importance as the link language. But while dealing with English language, we face somewhere problem as we have earlier discussed.

English is taught as a language for its instrumental value in school and colleges compulsorily in almost all parts of the country with the exception of a very few states, where it is an optional or non-examinable subject. At the secondary school stage a student should learn at least three languages and one of them is English uniformly throughout the country.

So English has been spread all over the country, except some states of India, which don’t follow the English language as a compulsory subject. It can be possible that the satanic image of the English is responsible behind this reason. The double role of the English language creates the chaotic situation in a way that it can be impossible to solve this problem. This conflict is going on still.

After independence, the number of students learning English has greatly increased, but their level of competence in English has decreased. This thing completely shows the policy and practice of the English language. English is taught in the school, but the policy that is made which is not followed by the teachers or we can say that it is not put into practice. That’s why at the very initial stage (school level) students are facing difficulties to learn the English language.
This is the biggest problem in the country like India that the policy which are made for teaching English, are not put into practice by the teacher so the very beginning stage of learning English, difficulties are created by this confusion or folly. Perhaps, this creates the satanic image of English in the minds of the students. As Omkar N. Koul said that the subject levels for teaching of English need to be specified in clear-cut terms. The important task is to specify the general aims and objectives of English language teaching, keeping in view requirements of the people. We have to remember the policy which teaching English language and the aims and objectives should be achieved by the teacher. This is how the teacher can remove the satanic image of English language by teaching students the language in a appropriate way and also by keeping view the aim and objectives (policy) of the English language.

English has become more and more Indianised grammatical and functionally due to its use by a large number of Indians think to increased education, commerce and journalism and the Indian English was no more foreign. It’s because of widely use of English language became it our own Indianised English. India is the third largest publisher of books in English after USA and UK and 42% of the books published in India are in English, the second language speakers of English is only 2.5%. We are ahead in this publishing kind of things, but in schools to teach English, teacher somewhere has failed to follow or put the policy into practice, that is why the numbers of second language speakers are less, only 2.5% in the country.

To conclude my point, here I would like to say that the compulsion for teaching English or the negligence of the policy in teaching English is the responsible factor for its satanic image that is why the preference for English, however, is a private choice and not public platform. Being a foreign language, it always creates the cultural problem in learning it.









Work cited

Annamalai,E..“Satan and Saraswati: The Double Face of English in India”. English in India. Ed.Omkar N. Koul.Creative Pub.:New Delhi.Cha.II.1sted.1992.Print.

Aslam,Rekha. “Socio-cultural dimensions of Second Language in India”. English in India. Ed. Omkar N. Koul.Creative Pub.:New Delhi.Cha.II.1sted.1992.Print.









Inspirational Aspects and some Archetypal Images in “The Old Man and the Sea”


Siddharth G. Desai
Roll no. - 07
SEM - III
Paper no.E-C-303
Year – 2011
Topic: Inspirational Aspects and some Archetypal Images in “The Old Man and the Sea”











Submitted to Dr. Dilip Barad
Department of English,
Bhavnagar University.



The Noble prize winning book “The Old Man and The Sea, written by Ernest Hemingway, is an inspirational story of the old man which shows the indomitable spirit of its protagonist, the old man. Ernest Hemingway is an American writer, who also won Pulitzer Prize for fiction. His other works like, “Three Stories and Ten Poems “in 1923, “In Our Time “in 1926, “The Torrents of Spring” in 1926, “The Sun also Arises” in 1926, “A Farewell to Arms” in 1929, “Men Without Women “in 1927, “Winner Take Nothing “in 1933, “Death in the Afternoon” in 1932, “The Green Hills of Africa” in 1932, “For Whom The Bell Tolls” in 1940. His “The Old Man and the Sea” is a parable-novella about man’s struggle against Nature. Hemingway is known for his laconic writing. Hemingway worked for “The Kansas City Star” for sometime. There he learned some stylistic lessons that later those all things reflected in his fiction. The newspaper advocated short sentences, short paragraphs, active verbs, authenticity, compression, clarity and immediacy. Hemingway later said: “Those were the best rules, I ever learned for the business of writing. I have never forgotten them.”

Hemingway committed suicide in 1961. He is remembered as one of the greatest stylistic innovators of Modern American Literature. Before discussing the inspirational aspects, let us see the origination of the American Literature in brief.

Prose, Fiction and Non-fiction of the American colonies and the United States written in the English language from about 1600 to the present time captures America’s quest to understand and define itself. From the beginning America was unique in the diversity of its inhabitants; over time they arrived from all parts of the world. Although English quickly became the language of America, regional and ethnic dialects have enlivened and enriched the country’s literature almost from the start. Today, American prose encompasses a variety of tradition and voices that share a common context: the geographical region now known as the United States. Native American Literatures which were largely oral at the time of colonial settlement stand apart as a separate tradition that is itself strong and varied.

For its first two hundred years American prose reflected the settlement and the growth of the American colonies, largely through histories, religious writings, and expeditions and travel- narratives. Biography also played an important role especially in America’s search for native heroes. Fiction appeared only after the colonies gained independence, when the clamor for a uniquely American Literature brought forth novels based on events in America’s past. With a flowering of prose in the mid 1800s, the young nation found its own voice. By then fiction had become the dominant literature genre in America. In the 20th century, American Literature took its place on the world stage and began to exert influence on other literatures.

The First American Fiction:-

        American fiction became formally established only after the American Revolution. “The power of sympathy (1789)”, a tragic love-story by William Hill Brown, is generally considered the first American Novel. Charles Brockden Brown is among the best remembered novelists of the period. His “Wieland; or The Transformation” (1798) is a cleverly plotted horror story that emphasizes dark, supernatural visions. Other notable novels of the time include Susanna Rowson’s “Charlotte Temple” (1791), a tragic romance that involves a young woman’s journey from England to the colonies during the revolutions; Gilbert Imlay’s “The Emigrants” (1793), the story of an English family whose life improves in America; and Hannah Foster’s “The Coquette” (1797), a novel; in the form of letters.

(- From Microsoft Encarta)

In the novella, “The Old Man and The sea”, the writer, Ernest Hemingway has put a picture of the old man which shows unbeatable courage of the Old Man that suggest us not to quit our efforts towards our struggle. Another thing in this novella that Hemingway has put the names: “Santiago” and “Sea”, both shows their strength. It can be considered in this way also. Santiago shows his indomitable spirit and the sea as name suggests, shows its strengths also. In this way, we can say that Hemingway has drawn the similarity between the sea and Santiago to show Santiago’s unshakable spirit.

In this novella, Santiago has become an inspirational character for readers. Santiago is a skilled and talented fisherman in Cuba. The novella starts with the words like: “He was an old man who fished alone in his skiff in the Gulf Stream, and he had gone eighty-four days now without taking a fish.” Now, we can, here, see that Santiago has failed to fish for eight-four times. He is also tagged as “Salao” which is known as the worst form of unlucky. Then even, he never leaves a hope to get success in his life. This spirit has made his character immortal in his reader’s mind. He tells to the boy, Manolin,

“Tomorrow is going to be a good day…”

And also he says to Manolin,

“Eighty-five is a lucky number…”

Santiago always encourages himself and his efforts for his success, as well as the readers. From these two quotations, we can sense about the Old Man’s spirit. That’s how a reader can learn a lesson that you success depends on your attempts, how well you can do, if not then, never lose your courage. You should keep trying to achieve your goal. All these things are motivated by the incredible character, Santiago to his readers.
Santiago also shows his calm nature in this novella. When the other fishermen make fun of him, he never gets angry. This shows his Excellencies in behaving with society. But when he returns back with Marlin, Nobody makes fun of him. Everybody is surprised by watching Marlin in the boat of Santiago. In a way, he inspires us that if you fail to achieve something, people will perhaps make fun of you, but you should not concentrate on that thing. You should concentrate on your goal then and then you can achieve it. When Manolin asked,

“But are you strong enough now for a truly big fish?”

At that time, the Old Man replies,

“I think so. And there are many tricks?”

This shows the Old Man’s determination for catching a big fish. He has many tricks for fishing and he is, after all, a skilled-fisherman. One thing, here, we must observe that is the old man’s nature. He does not boast for his Excellencies and skillfulness in fishing to Manolin. He just says that I think that I can do it and perhaps, we must also have this “I can do it attitude” in our life. All these aspects of the old man’s character motivate us in our life. Hemingway has created the heroism in the character of the Old Man. In a way that it has become an inspiration for his readers.

Our life is full of struggle and at that time, her, I recall some lines of the poem “Agnipath” by Harivansh Rai Bachchan,

“Agnipath, Agnipath, Agnipath

Tu na Thakega Kabhi

Tu na Thamega Kabhi

Tu na Mudega Kabhi . . .”

The above mentioned lines are somewhere relevant to “The Old Man and the Sea”, by Ernest Hemingway, has presented the story in the terms of the mentioned poem, “Agnipath”. Though Santiago is an Old Man, he tries hard to attain his goal. He struggles to live his life in a dignified manner. The indomitable spirit of the Old Man propels him and gives him courage to cope with the situation like, when he is surrounded by the Sharks in the sea. In this scene, Sharks stand for human predicament, and one must fight to gain something in life.

Santiago has desire to do something that he has never done and his staunchness make for his desire make dream comes true. But it is achieved by striving on your goal that the old man does. This is how, the character is telling us to never give up and be courageous. Your attempt will not fail, if you will try with the determination to accomplish your goal.
Here, in this novella, we can see some archetypal images like, wise Old Man, Sea, journey and Blue color. All these images can be analyzed by archetypal theory. Before we see those archetypal images, let us discuss what is Archetypal Criticism?

Archetypal Criticism:-

In literary criticism the term “archetype” denotes recurrent narratives, patterns of action, designs, character types, themes, and images which are identifiable in a wide variety of works of literature as well as in myths dreams and even social rituals. Such recurrent items are held to be the result of elemental and universal forms or patterns in the human psyche, whose effective embodiment in a literary work evokes a profound response from the attentive reader, because he or she shares the archetypes expressed by the author. An important antecedent of the literary theory of the archetype was the treatment of myth by a group of comparative anthropologists at Cambridge University, especially James G. Frazer, whose The Golden Bough (1890-1915) identified elemental patterns of myth and ritual that, he claimed, recur in the legends and ceremonials of diverse and far-flung cultures and religions. An even more important antecedent was the depth psychology of Carl G. Jung (1875-1961), who applied the term "archetype" to what he called "primordial images," the "psychic residue" of repeated patterns of common human experience in the lives of our very ancient ancestors which, he maintained, survive in ARCHETYPAL CRITICISM the "collective unconscious" of the human race and are expressed in myths, religion, dreams, and private fantasies, as well as in works of literature.

Archetypal Literary criticism was given impetus by Maud Bodkin’s “Archetypal Patterns in Poetry” (1934) and flourished especially during the 1950s and 1960s. Apart from him, the other prominent practitioners of various modes of Archetypal Criticism were G. Wilson Knight, Robert Graves, Philip Wheelwright, Rishard chase, Leslie Filder and Joseph Campbell.

(-From M.H. Abrams “A Handbook of Literary Terms”)

Northrop Frye is a very well-known in the world of Archetypal Literary Theory. His major works “Anatomy of Criticism” deals with archetypes. Now let’s see the image of archetypes.

In this novella, “The Old Man and The Sea”, the first image of archetype is of the old man (Santiago) who symbolizes for his knowledge, wisdom, experience and morality. But somewhere, somewhat the character of the old man of this novella is different from the archetypal image of the Old Man. When he goes too far in the sea, at that time, he thinks that I should have not come too far in the sea. so being an experienced and knowledgeable fisherman, he does mistakes in his fishing and this incident shows his error of judgement.

The second Archetypal image that we can find, that is sea, which symbolizes Death and Rebirth both. After returning from the sea with Marlin, this thing gives rebirth to the old man’s identity. By doing this thing, he washes out the tag of ‘Salao’. Then the Old Man’s journey to achieve or do the thing that he has never done in the sea. By getting Marlin his purpose of journey is attained by him.

Then, the archetypal image is the color blue, we can find in the novella. This blue color symbolizes highly positivity and tranquility. These both characteristics can be found in the Old Man’s character of this novella. As we earlier discussed that he has calm nature.

At last, I would like to write the famous line of this novella which has become slogan of this novella as well as the reader’s life. Hemingway writes,

“A man can be destroyed but can not be defeated”

Hope is a kind of thing that can give a life to those people who have lost the opportunity to attain their goal. After all, a man is a mere creature. You can destroy him but can not destroy his faith, his hope and his courage. The old man always shows a hope that if not today then tomorrow definitely I will achieve my goal.

During the course of text, Santiago raises the level of hope and courage in their reader’s mind. Santiago becomes the inspiration of his readers and they are molded in a way that anyone can say, “Yes, I can do it”.

Conclusion:-

In conclusion, I would like to say that, Hemingway starts this novella with the words like “He was an old man…” but when he ends the text, the character achieves the definite article ‘The’ as “The Old Man” and then it becomes the SPECIFIC character in the novella. So, the character’s journey is like from the Ordinary to Excellent.

Vocation of a Scholar


Siddharth G. Desai
Roll no. - 07
SEM - III
Paper no.E-C-302
Year – 2010-11
Topic: “Vocation” of a Scholar












Submitted to Dr. Dilip Barad
Department of English,
Bhavnagar University.




In “The Art of Literary Research”, Richard Altick and John Fensternmaker have discussed about the vocation of the scholar in the very first chapter. Let’s see the vocation of the scholar. Before discussing about the vocation of the scholar let’s see the meaning of the scholar.
          
      According to “Oxford Advanced Learner’s Dictionary”, the scholar is a kind of person who know a lot a about a particular subject because they have studied it in detail. It means, the scholar has special knowledge about a particular subject in which he is like Master or Skilled person. Another thing is that the scholar has studied any particular subject in detail in a way that nobody can fathom his knowledge.
          
        In this very first chapter, “Vocation”, Richard Altick and John Fensternmaker write that the literary scholar and the critic are in the same boat. They are trying to convey by this that both follow to achieve the same thing. They further write, “Some professional students of literature prefer to regard themselves primarily as critics, some as scholar…” by describing this, Richard and john try to convey that every literary student ahs dream to become a critic and a scholar in literature. Here, they, first, present the psyche of the literary students.
          
       They both show the difference between critic and scholar. They write, “The critic’s business I mainly with the literary work itself- with its structure, style, and content of ideas. Scholars- on the other hand, are more its genesis and subsequent history. That means, critic studies only text with its structure, style and content of ideas. That’s how a critic presents his criticism on the text. On the other side the scholar studies the facts and roots of the particular text. He also studies the historical background of the text. That’s how a scholar does his genetically based study on the text. He believes that every work of art must be seen from within. That means, every work of art must be observed without any theory that means in general and within the text, according to the traditional way, the text must be assessed. They also see to illuminate or to explain and show more clearly the work from every conceivable angle.
          There is another person who also plays a very significant role in the literary studies, and that is a researcher, who studies the criticism on which the critic has done his work. In short, it looks like a journey from a critic to a scholar (Critic à Researcherà Scholar). Every literary student, perhaps, would pass from this journey who has desired to do something from the beginning of literary study.
          
George Whalley has rightly said for critic and scholar. He said,
                  
                   “No true scholar can lack critical acumen; and the scholar’s eye
                   is rather like the poet’s – not, to be sure, in a fine frenzy rolling,”
                   but at least looking for something as yet unknown which it knows
                   it will find, with perceptions heightened and modified by the act
                   of looking. For knowing is qualitative and is profoundly affected
                   by the reason for wanting to know..."                 

           Then, it is written, here, in this chapter that the genuine scholar is impelled by a deeply ingrained curiosity, an undeniable urges to learn as well as to teach. That is how scholar is encouraged to learn as well as to teach. That is how scholar is encouraged to learn as well as to teach. That is how scholar is encouraged to learn as well as to teach the things. Then the discussion moves towards the dramatic discoveries, which do not occur as often now as the scholars did earlier in the century, when a steadily enlarging body of scholars first studied great boards of rare books and manuscripts, in both institutional and private ownership, which had hitherto been inaccessible to inquires or simply unknown. That’s how dramatic discoveries were done earlier.
         
          As a consequence of this recent dramatic expansion of the scope of literary interest, it is certain that, given a fair degree of imagination, it means, because of this expansion, one can think or imagine in a broader sense. Then, originality to approach refers to the approach that is taken by someone who gives his attempt with 100%. Then, solidity of learning is introduced effectively. The wish and the will to see works of literary art and their creators form new perspectives. It refers to again this dramatic expansion which has given the opportunity to learn or to research the literary study in a efficacious way. All these above mentioned aspects can be seen as the qualities of research. This vocation of scholar will find or research on the things which will be rewarded in an ample amount.

          In further discussion, the idea of “publish or perish” in which the discussion moves to academic writing if your are working in the field of academic writing then you must write such thing which should be published in the well-known book, magazine or any other sources. So your writing can give you an identity as a critic, researcher or scholar. Publishing your writing creates your identity as an academician. But if you would not publish anything then you will be thrown of the academic field. Your identity as an academician will sure perish. So choice is ours. What do we want choose, publish or perish?

          That’s how the idea of academic writing is dealt in this book in a very significant way. Such writing should be published and should be awarded so that on can be encouraged by giving award to his writings.

          Morris Bishop has said about the literary research and its appreciation. He said,

                   “…I am not against research. I practice it, I honour it,
I love it. But a taste for literary research is something
special. It is not the same thing as delight in reading,
or delight in introducing others to the pleasures of
reading or the pleasures of writing. We do well to
encourage literary research. We do ill to impose, it as
a requirement for promotion and status in the teaching
profession. Literary research is a privilege, deserving of
no reward except the writer’s joy in his article, his book,
his public utterance of his precious thoughts.”

          So, here, Norris discuses that literary research is a privilege. To do literary research is an honourable thing. We should admire the writer’s attempt to do research and, especially to his precious thought that he has shared in his research with his readers.

          Then, Dr. Johnson said about scholarship, he said, “no man-but a blockhead ever wrote, except for money”; if so, the history of literary scholarship at its best is populated with amiable blockheads. Scholars may value the creature comforts as highly as do people in any other line of work. Scholars value the literary research in their vocation.

          “Interpret, understand and appreciate”, all these words are taken into consideration while viewing or reading literature. The scholar must follow these three words. He should first interpret the work, then he should try to understand the different dimension in the text and then, he should appreciate the text. This is how the scholar should act in accordance with these above three mentioned terms.

          One should have temperament for literary research, nobody can impose to research to anyone by giving particular time. One should have pleasure for literary research then and then the result can be achieved in a fruitful way.

          Then, there is a discussion on a successful and happy scholar. There are two professions which affect the vocation of the scholar and those are law and journalism. Both these professions depend on evidence. As law requires a thorough command over the principles of evidence, the knowledge of how to make one’s efficient way through the accumulated “literature” on a subject, and devotion both to accuracy and to detail. All these things can be helpful in the field of research. The scholar should have devotion towards accuracy of the particular research and its detail.

          Journalism, more specifically the work of the investigative reporter, also calls for resourcefulness- knowing where to go for one’s information and how to obtain it, the ability to recognize and follow up leads, and tenacity in pursuit of the facts. Both professions moreover require organizational skill, the ability to put facts together in a pattern that is clear and, if controversy is involved, persuasive. All the qualities of these both professions should be followed by the scholar. All these qualities can be helpful in literary research.
         
          Ideal researchers must love literature for its own sake, that is to say, as an art. Emotional attachment is definitely required to your work, then and then you can give your best to your work and then desired results can be attained by this emotional attachment. In this context, Wordsworth has rightly said in “Prelude”,

“What we have loved others will love,
And we teach them how to love.”

          Scholars and researchers must be insatiable readers. They must be enjoying reading. As Morris Bishop has said that they must have delight in reading and delight for reading. All these aspects infuse one’s activity as a professional scholar. As Helen Vendler said: “as scholars, we…love, beyond philology, and composition and literature, the worth of scholarship, by which we mean accurate evidence on literary matters. We are engaged in teaching others- our more advanced students- how to love what we love in the discipline of scholarship: how to price the exact edition over the inadequate one; how to value concision and clarity over obscurity and evasiveness; how to appreciate a new critical vocabulary when it brings energy or insight into our world.” So the scholar should have all these above mentioned abilities to research in the literary study.

          Researchers must have an accurate sense of history; they should have the ability to take themselves in the writer’s age. They should have a kind of adjustment to set their thoughts into the particular age. The words like, “research” and “scholarship” are used interchangeably, as is the common practice.

          H.J. Mencken said, “Learning without wisdom is a load of books on an ass’s back.” On can be a researcher, full of knowledge, without also being a scholar. Research is the means, scholarship the end; research is an occupation, scholarship is a habit of mind and a way of life.”Research is a kind of method through which one can attain Scholarship and Scholarship is last DESTINATION for a Researcher that is what Richard Altik and John Fensternmaker have said.

Conclusion:

          To conclude, I would like to say that scholars do their research in the very analytical way that no one can question on their arguments and their ideas. They should have both knowledge as well as wisdom so both these things make them able to put facts in their research in a very appropriate way.